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Women's Authorship and the Early Gothic
Discusses previously marginalized or underappreciated women Gothic authors. Provides innovative readings of specific Gothic texts. Reintroduces lesser known primary texts into the critical discussion. Presents a core thesis which advances the field of Gothic studies and rethinks previous perceptions of literary culture.
Romantic Fiction and Literary Excess in the Minerva Press Era
Jane Austen's ironic reference to 'the trash with which the press now groans' is only one of innumerable Romantic complaints about fiction's newly overwhelming presence. This book draws on evidence from over one hundred Romantic novels to explore the changes in publishing, reviewing, reading, and writing that accompanied the unprecedented growth in novel publication during the Romantic period. With particular focus on the infamous Minerva Press, the most prolific fiction-producer of the age, Hannah Hudson puts its popular authors in dialogue with writers such as Walter Scott, Ann Radcliffe, Maria Edgeworth, and William Godwin. Using paratextual materials including reviews, advertisements, an...
Minervas Gothics
This project has several distinctive features. The first is statistical analysis of publishing records for all British novels (Minerva and otherwise) published between 1780 and 1829 (data are compiled from James Raven’s and Peter Garside’s The English Novel, 1770-1829: a Bibliographical Survey of Prose Fiction Published in the British Isles). This analysis confirms that Minerva novelists are more prolific than most female novelists in the period. It is rarely noted that Minerva novelists also often publish on occasion with other presses, something to which the data calls attention. The book’s scope and content challenges an anachronism that still permeates studies of the Romantic era. Minerva’s Gothics restores a forgotten pathway between first-generation Romantic reactions to popular print culture and Percy Shelley’s influential conceptualization of the poet.
Cognition and Girlhood in Shakespeare's World
Cutting-edge theories of cognition inform readings of Shakespearean girls to show the dynamism of adolescent female brainwork.
Accounts and Papers
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Sixth Induction
Elle has a choice...or so they say. After kidnapping her, what reason would she have to stay in Caetera? She doesn’t know how she got here. She doesn’t know why. Worst of all, she can’t figure out howto return to Earth on her own. Just give it a week...or so they say. How can she? Something about Caetera...is just not right. Praise for Sixth Induction: "If you enjoy reading about women on top of their game with a twist of science fiction, you'll love this read." Mira Kanehl--The Sorceress' Child Series * * * * * "The book is written with much description, so I could picture it all so vividly." Goodreads Reviewer * * * * * "I also love the author's linguistics which enrich the Caeteran experience, a Tolkienesque Flare!" Amazon Reviewer
The Gothic Forms of Victorian Poetry
A lonely damsel imprisoned within a castle or convent cell. The eavesdropping of a prisoner next door. The framed image of a woman with a sinister past. These familiar tropes from 1790s novels and tales exploded onto the English literary scene in 'low-brow' titles of Gothic romance. Surprisingly, however, they also re-emerged as features of major Victorian poems from the 1830s to 1870s. Such signature tropes - inquisitional overhearing; female confinement and the damsel in distress; supernatural switches between living and dead bodies - were transfigured into poetic forms that we recognise and teach today as canonically Victorian. The Gothic Forms of Victorian Poetry identifies a poetics of Gothic enclosure constitutive of high Victorian poetry that came to define key nineteenth-century poetic forms, from the dramatic monologue, to women's sonnet sequences and metasonnets, to Pre-Raphaelite picture poems.
